The film’s visual style can best be described as 300 meets Mad Max, with a mix of heavy CGI, sweeping landscapes, and desaturated color palettes that give it an otherworldly feel. The wide shots look impressive, creating the illusion of a grand and immersive fantasy world. However, once the camera moves in for close-ups, the cracks begin to show. The compositing is rough, the set design looks artificial, and some costumes (including modern-looking shirts and tank tops) feel completely out of place in a medieval-inspired setting.
That being said, credit must be given to the CGI artists, who help elevate the film beyond its budgetary limitations. The transformation sequences, in particular, are well-executed, delivering some of the film’s most memorable visual moments. Unfortunately, this is undercut by inconsistent production design, with some locations feeling overly empty and others overcrowded with extras.
Milla Jovovich and Dave Bautista take center stage, but their performances are disappointingly flat. Jovovich, who has plenty of experience leading action-driven films, moves through fight scenes with an almost sluggish, weightless quality—more slow-motion than sorcery. Bautista, meanwhile, does his best with the material, bringing a level of charisma that nearly saves the film, but even he can’t overcome the wooden dialogue and lack of chemistry between the leads. Their dynamic is meant to carry the movie, yet it often feels like they’re simply going through the motions.
The film follows the classic “dangerous quest” structure, but the stakes never feel particularly high. Despite the countless threats lurking in the Lost Lands, the story lacks urgency, and it’s hard to care about the fate of characters who remain emotionally distant. The script is packed with exposition—characters talk a lot but say very little. The dialogue is stiff and overly self-serious, making even the more intriguing moments feel weighed down.
The film does feature a series of twists near the end, one of which is fairly predictable but still adds some much-needed energy to the third act. However, Anderson doesn’t stop at just one twist—he piles on multiple reveals, some of which land better than others. It’s an interesting attempt at elevating the narrative, but by that point, it’s hard to stay invested.
If Anderson excels at anything, it’s crafting kinetic action sequences. While this isn’t his best work, there are moments of stylish brutality that break up the monotony. The gunfights (yes, there are guns) are some of the stronger set pieces, and the occasional bursts of creative imagery remind us that Anderson still knows how to stage a visually engaging fight scene. That said, the film’s reliance on green screen-heavy environments and digital enhancements makes it feel more like an extended video game cutscene than a truly immersive fantasy experience.
In the Lost Lands is the kind of movie that’s best experienced in a theater with zero distractions—if only to appreciate its sporadic visual flourishes. It’s a film that wants to be grand and poetic but settles for being serviceable and uninspired. While it has its moments (a few solid action sequences, some impressive creature effects, and an interesting twist), it ultimately falls into the category of forgettable fantasy epics. Fans of Anderson’s work may find something to enjoy here, but for everyone else, this is a journey into the Lost Lands that may not be worth taking.
Jessie Hobson